PROCESS
In my artistic practice the process itself is as important as the final product. New pieces are not created in a vacuum but embedded in the body of work. It is a constant process of selection, in which many elements are dismissed or reworked. To me, art is an ongoing experiment, involving different variables, including media, time, space and a chance. My working method consists of set of repetitive activities: a piece of paper is immersed in the pool filled with ink, oil and water and manipulated. The repetitiveness is not mundane, quite the opposite, it entails a great variability potential and prompts constant evolution. My approach changed a lot in the recent years, towards a more analytical one, I slowed down. Beforehand, it was much more of an eruption of spontaneity and now it can be considered a controlled improvisation.

MATERIALITY
The tactile dimension of my work is very important and subjected to a constant change. I started working with analogue photographs, this probably being a reason for my fascination with fluid media and black & white. Fluidity and monochromaticity became my token, regardless the medium used. So far, I have worked with video, painting, installation and print, the latter being the most prevalent. The structural character of the works, with numeral overlapping, superimposed layers, mimics the natural processes of accumulation, growth and evolution. I seek inspiration in nature, in textures of sand, stone and water. I have always found see fascinating, in a very subliminal, inexplicable way. The idea of immersive darkness, the deepest black of albedo 0 is very compelling.

COINCIDENCE
The coincidence, or what I prefer to call serendipity contributes a lot to my work. The fascination with incidental creation started with the first Backside piece (Backside n. 1), when I discovered that the pattern which appeared on the other side was more striking than the actual work. The partial uncontrollability of the technique I have developed is a constant source of surprise and inspiration. My task is too see beyond the convention and notice the opportunities arising. Once, after an intensive day in the studio, I noticed that the plastic foil on the floor became an exciting recording of my working process so I decided to make a huge cotton print out of it. It was the best thing I did that day. I like to perceive myself as an invisible artist, whose action is counterbalanced by happenstance.

SPACE-TIME
Another crucial determinant is the space. My works are inherently connected to the space in which they were created and to each other. I used to work in a studio consisting of two rooms: one black and another white. It is interesting how the setting has been influencing my creative process. The white room was a conventional working space, while the black cube became more a thing on its own, an ongoing experiment. Within the black space there was no light, so I felt an urge to create it with my works. I also had the subconscious feeling that this is a space related to water. Time can be considered a fourth dimension within my works – it has a very palpable influence on their appearance. I created a series of prints with the titles indicating the amount of time they spent submerged in fluids. Depending on whether that was three minutes or half an hour, the final effect was different.